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Richard STRAUSS (1864-1949)
Vier letzte Lieder*** [18:40]
1. Beim Schlafengehen [5:16]
2. September [4:03]
3. Frühling [3:19]
4. Im Abendrot [6:00]
5. Ariadne auf Naxos: Es gibt ein Reich (Act 1) * [5:45]
Capriccio - Final Scene* [20:32]
6. Mondscheinmusik [3:53]
7. Wo ist mein Bruder? [1:44]
8. Morgen mittag um elf! [1:19]
9. Kein Andres, das mir so im Herzen loht [4:02]
10. Ihre Liebe, schlägt mir entgegen [5:51]
11. Du Spiegelbild der verliebten Madeleine [3:43] (with Franz Bierbach (bass))
12. Arabella: Es ist der Richtige nicht fur mich (Act 1) ** [7:05] (with
Hilde Gueden (soprano))
13. Der Richtige, so hab’ ich still zu mir gesagt (Act 2);* [7:04] (with
Paul Schoeffler (bass-baritone))
14. Das war sehr gut, Mandryka (Act 3) ** [8:15] (with Alfred Poell (baritone))
Lisa Della Casa (soprano)
Vienna Philharmonic Orchestra/Karl Böhm (1-4); Heinrich Hollreiser (5-11,
13); Rudolf Moralt (12, 14)
rec. Musikvereinssaal,Vienna, 21-23 April, 1954*; 19-20 May, 1952**; June 1953***
NAXOS 8.111347 [67:21]
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The obvious comparisons with this newly remastered Naxos disc
are the Decca
Legends issue and the super-bargain Regis. The
Decca disc offers exactly the same programme, whereas the Regis
includes an extra aria from “Ariadne auf Naxos” (“Ein
Schönes war”) conducted live in 1954 by Böhm.
It also substitutes a live performance of the final scene from “Capriccio”,
conducted in 1953 by Johannes den Hertog. The bonus “Ariadne” excerpt
and the extra frisson and immediacy derived from a live performance
of “Capriccio”, in combination with the low price,
should make the Regis an attractive alternative; unfortunately
their clumsy remastering from LPs has resulted in too much obtrusive “wow
and swoosh” to make it wholly recommendable. Even so, the
Regis disc retains its value for the animation of that live “Capriccio” performance
and the fact that despite its rough edgy sound and prominent
harps, it retains upper frequencies lost in the fuller, richer
sound of both Decca and Naxos versions. Previous reviewers have
wondered whether Mark Obert-Thorn’s application of the
CEDAR declicking and pitch-correction system for Naxos and Decca’s
own re-engineering for the Legends series have not removed
too many of those upper frequencies; I can say only that the
retention
of a fair amount of hiss would suggest that Naxos have managed
to render the recordings softer on the ear without too much
compromise of the original brightness. To my ears, the singers
have been
brought forward and the orchestra has more presence; both welcome
improvements, despite the very slightly duller, more muffled
quality.
Much has already been written about the creamy beauty of Lisa
della Casa’s voice, especially in Strauss. The composer
called her his ideal Arabella and there is ample evidence for
his enthusiasm in these excerpts. There is nothing overt or
over-emotive about her singing; the voice soars effortlessly
heavenwards,
surprising the listener with its power despite its essentially
lyric quality. In addition to radiant tone and innate musicality,
della Casa had the indefinable ability to touch the heart of
both the listener and the character she embodies.
Della Casa here sings the “Four Last Songs” in the
order preferred by the composer, although as a modern listener
I would need some convincing that this sequence is really artistically
preferable. Leaving that aside, it is refreshing to hear them
sung so straightforwardly; the angelic radiance of her tone,
the broad, arcing phrasing on a long breath and the refusal to
swoon create spirituality without a trace of sentimentality.
First-time listeners might be taken aback by the complementary
directness of Böhm’s brisk accompaniment; there is
little use of ritardando or the courting of stasis so common
in more reverential readings - but it suits della Casa’s
mode perfectly and her interpretation forms a welcome counterpoint
to the more indulgent, romanticised versions we have become
used to. Some find her cool in these songs; I suggest that
they are
not listening properly.
We are then treated to her interpretations of three great Straussian
ladies and can again admire the economy with which she portrays
their varied emotions. She is equally convincing and adorable
in all three rôles, from the ironic playfulness of the
Countess, to the wistfulness of Arabella, to the naïve piety
of Ariadne - and in glorious voice throughout. The trenchancy
of her low A flat on “Totenreich” immediately followed
by a ringing B flat on “Hermes” is testament to a
voice in prime condition throughout its two registers. Furthermore,
this anthology comprises some of the most delicate, moving and
sensuous music Strauss ever wrote; the ideal vehicle for such
a voice to float and soar in. Is there a more luscious tune in
opera than the long-breathed melody which launches Arabella’s “Aber
der Richtige”? Not when sung as it is here by della Casa,
I submit - especially when Gueden answers her with Zdenka’s
dreamy rejoinder and the two voices intertwine. If I have any
criticism at all, it is to cavil about della Casa’s occasional
use of a half-aspirate to change pitch in the upper reaches
of he voice, but otherwise it is a voice as close to perfection
as one could encounter. She is happily supported by three great
Vienna regulars in Hilde Gueden, Paul Schoeffler and Alfred
Poell,
all perfectly in character and vocally impressive.
For me, however, the centrepiece of this programme is the closing
scene from “Capriccio”. As much as I love Gundula
Janowitz and Renée Fleming in this music, della Casa
is the supreme aristocrat in this role, singing with a purity,
charm
and unfeigned sincerity which are utterly irresistible.
And all the while, we can enjoy the luxury of the finest orchestra
possible in this music. The Vienna Philharmonic provides a
velvet cushion of sound, utterly at ease in Strauss’s idiom. Despite
the mono sound, the “Moonlight” music has rarely
sounded more magical.
It is just as well that della Casa’s diction is so pellucid
given the lack of texts and translations, but David Patmore’s
notes and summaries are informative and helpful.
While I still appreciate the added sonority of a modern stereo
recording such as that given to Fleming in her marvellous disc
of Strauss bon-bons with Susan Graham and Barbara Bonney, I
would never want to be without this magnificent souvenir of
perhaps
the greatest Strauss soprano ever. Similarly, while treasurable
recordings of the “Four Last Songs” are legion,
every devotee should make room on the shelves for this one,
no matter
how many versions he owns.
Ralph Moore
Masterwork Index: All reviews of Vier Letzte Lieder
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